Inside...

12 The West Side Story Project Toolkit

14 Some Performances
7 A Quiet Place
8 In The News
2 My Brother, Lenny
3 Remembering My Father
News for Friends of
Leonard Bernstein
Fall/ Winter 2010/2011
Remembering
Leonard Bernstein
Special
Edition
SONY MUSIC ARCHIVES
2
My Brother, Lenny
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
by Burton Bernstein
A
t a crowded private funeral
service in my brothers
immense apartment at the
Dakota, off Central Park West,
just a few hours before Lenny was
interred at Green-Wood Cemetery
in Brooklyn, I delivered a eulogy
that I wrote almost immediately
after I learned of his death two
days earlier, on October 14, 1990.
I wrote it as a kind of therapy.
It began: My brother, Lenny,
who was always larger than life,
turned out to be smaller than
death... It seems impossible. Those
of us who were closest to him
such lucky ones we are! we
somehow assumed that he would
go on forever, like time itself, that
he was somehow immortal...
Well, that was two decades
ago, unbelievably so, and Ive got
to admit that not a day goes by,
sometimes not even an hour, that
I dont think of Lenny: perhaps
just a passing thought, a memory
flash; sometimes a long, complex
reconstruction of an event we
shared; sometimes a fleeting kitch-
en odor that would have reminded
us of our mothers unfortunate
culinary talents (Jennie Bernstein
was the antithesis of the maternal
Jewish cook); sometimes nothing
more than an odd anecdote or
joke or mot I heard, which I knew
A
s of this writing, West Side Story
is running on Broadway, while
the road company of the production
is on its way to a holiday run in Los
Angeles; A Quiet Place is having
its first-ever New York City run at
New York City Opera; a magnificent
60-CD set of complete symphonic
cycles is being released by Sony;
Steve Shermans astonishing book of
late-life conducting photographs has
arrived in stores; Wonderful Town
is winding up its run in Japan; and
Chicago Lyric Operas Candide is on
its way to Washington D.C. These
are not the events relating to a person
whose 20 year absence is causing him
to fade from memory. Instead, its
almost as if the world is waking up
to the cumulative power of Leonard
Bernsteins life and work. His com-
positions seem to sound ever better
with time, while his conducting per-
formances are taking on the weight
of classics. His legacy as an educator
can be felt everywhere especially
in the many schools across the nation
employing the Leonard Bernstein
Centers Artful Learning

Model.
On the 20th anniversary of Leonard
Bernsteins physical departure from
this world, his presence as a passion-
ate artist, performer and educator
can be felt more than ever.

J.B.
Leonard and Burton Bernstein

P
H
I
L
H
A
R
M
O
N
I
C

A
R
C
H
I
V
E
S
Those of us who were
closest to him such
lucky ones we are! we
somehow assumed that
he would go on forever...
Lenny would love; sometimes a
wretched piece of worldly news
that warranted our dissection
over many drinks and dinner. My
first reaction to these frequent
Lenny thoughts is still Gee, Ive
got to tell Lenny about this
and then I have to pinch myself
and realize for the seemingly mil-
lionth time that there is no Lenny
around to tell.
Again, quoting from my eulogy:
All those things that were Lenny
are no more, and that terrible fact
is unbelievable and unbearable. For
my part, I miss him more than I
can ever say. He was my brother,
my best friend, and a sort of father,
too. Whatever I am, for better or
worse, I owe to Lenny, and a lot
of other kith and kin can say the
same... And yet, of course, the
great, obvious clich that springs
to mind is quite true: Lenny is
immortal, after all. The memories
of him will be there, along with
the recordings and the revivals and
the writings, for generations upon
generations. Just as long as people
care a damn about something finer
in life than power and money and
their imagined superiority over
others there will always be Lenny
around to educate, entertain, edify,
move, and inspire to change us
all in some wonderful, subtle way.
In that sense, Lenny is larger than
mere death, too.
To which I say now, after
twenty years, Amen and Selah.
3
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
Originally appeared on dot429.com
by Alexander Bernstein
I
t seems impossible that I
havent seen my father for
twenty years. Sometimes I feel as
though hes just on tour again,
and will be back any time now.
My father traveled a great
deal. When he was home, though,
he was really home. As a com-
poser, he didnt have an office
to go to like the other dads. He
would stay up very late working
and then wake up very late. He
would always be there when we
came home from school, ready
to play (or at least not minding
if we played quietly in his studio
while he worked). In the sum-
mertime we had him all day long
for swimming, tennis, sailing,
or just eating six ears of corn
apiece. Sometimes he would play
something for us as soon as hed
finished writing it and would ask
our opinions. The answer was
always terrific because he had
such faith in his work and played
with such joy and energy.
When he was conducting
(which was most of the time),
he would be home studying
the scores, or out at rehearsals.
Occasionally he would take us
kids along to the rehearsals. We
would spend all day at the making
of his televised Young Peoples
Concerts, running around
Carnegie Hall or Philharmonic
Hall (now Avery Fisher Hall) as
if we owned the place. We were
sort of like Eloise at the Plaza.
Evenings were often festive
times with relatives and friends
from the New York arts world.
I remember much laughter, noise
and a lot of word games. My
mother was a wonderful hostess,
making everyone feel comfort-
able. She would always add her
own sense of fun and silliness to
the occasion.
Once in a while we got to
travel with our father, and it was
such a treat! Everything was first
class, with lots of attention.
Remembering My Father
The Bernsteins
We would see all the sights,
meet all the mucky-mucks, and
stay up late ordering room
service. Heaven.
We learned the music as we
sat (and ran around) during
rehearsals. We never really

J
O
H
N

J
O
N
A
S

G
R
U
E
N
-
G
E
T
T
Y

I
M
A
G
E
S
knew that we were getting an
education in Classical music,
but my father was a great teacher.
Whether it be music, poetry,
philosophy, or politics, my fathers
greatest passion was to share and
to communicate. My sister has
said that his real ambition was to
connect, in one way or another,
with every person on the planet.
For having lived only 72 years,
he didnt do a bad job of it. My
father loved people and shared his
love with multitudes. He never
stopped learning. His appetite for
knowledge and life was insatiable.
Not only did he read constantly,
but he would often stay up all
night with a group of students
talking about music, love, and
religion. He would drink them
under the table and still be ready
to rehearse at 10 a.m.
I was a very bad music stu-
dent. I rarely practiced piano and
dreaded my lessons (given by a
series of game, but ultimately
frustrated teachers). I did listen to
the music. I listened to my father
talk about art, humanity, social
justice and education. Eventually,
not long before his death, I
became a teacher with a Masters
Degree. My father was increas-
ingly interested in education. We
talked about what exactly it was
that made an engaged, life-long
learner. The more and more we
talked, the clearer it became that
art and its processes could be
the great connectors between
disciplines. Learning itself is a
creative act. Only by truly
making knowledge ones own
can one deeply understand it and
connect it with other knowledge.
After his death, our family
started The Leonard Bernstein
Center for Learning. We developed
the Artful Learning

Model,
now being implemented in schools
all over the country. Through
this approach, teachers and
students come to see themselves
as creators as well as scholars.
Not at all to diminish his com-
posing and conducting, but it is
Leonard Bernsteins legacy as an
educator that I hope will have
the most impact.
I guess hes staying on
tour after all but he is
still communicating!
W
hile Bernstein was alive,
he had a number of par-
ticularly devoted fans who
transcended the category to
become genuine friends. One of
these was Muriel Nuttal. She
expressed her affection with a
yearly sonnet for his birthday.
After Bernsteins death she
continued the tradition as a gift
to his family. We feel it is espe-
cially appropriate to share her
latest on the 20th anniversary
of his passing.
A Tribute to Leonard Bernstein
To. L.B.
In Memoriam
For twenty years, dear friend, you have been gone,
Two decades, in which day has followed night.
For eighty seasons has the time flowed on;
Yet through it all, your memory shines bright.
Indeed, we only have to close our eyes
To see your face and, for a little while,
To hear your voice, drink in your words so wise,
Whilst finding warmth and comfort in your smile.
And evry time we listen to the sound,
The wondrous sound of your sweet music playing,
Our gladdened hearts once more with joy abound,
Our souls are stirred by what it is conveying:
The love, the ecstasy, the beauty too,
The glory of the ever-present you.
MN October 14, 2010
by Phyllis Newman
I
t seems like it was only yester-
day Can you believe?
Oh well, let me tell you two
tiny private moments with Lenny.
Lenny Lying Down and Laughing
August 19, 1990. Leonard
Bernsteins last concert he would
ever conduct at Tanglewood.
After the concert Lenny, his sis-
ter Shirley and I are driven back
to New York City in a Limo
Lenny coughing, Shirley coughing
oh by the way, they were both
smoking as if they were in a nico-
tine marathon. I, never a smoker,
was going mad. God, he was so
tired it was hard for him to talk.
He put his head on my lap and
his feet on Shirleys. I stroked his
head and told him I would make
up a story to while away the time
and hopefully put him to sleep.
I remember very little of this
opus just that there once was a
creature half-animal, half-man.
Well that perked up our Lenny
boy he started asking ques-
tions, his voice came back, and
I had to come up with answers
plots point? point? the
three of us were laughing so hard
point? point? Lennys zest
and curiosity never waned. Dont
think for a second his illness or
body defeated him. He wanted to
be rid of the sick, humorless part
4
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
Phyllis Newman
C
O
U
R
T
E
S
Y

P
H
Y
L
L
I
S

N
E
W
M
A
N
of him. He told us many, many
times he never wanted to live
so he could be wheeled over to
and around Central Park.
October 13, 1990 the night
before he died. I sat on his bed
and as the family and friends
went into dinner, he said to me
I know, I know youll give me
a thousand dollars if you can just
go home now an exchange
we had many times, before
receptions, parties and the like.
I nodded yes and we laughed
we really laughed I kissed his
forehead and I went home. I
owe him a thousand dollars.
What the world owes him? You
couldnt afford.
Phyllis Newman is a two-
time Tony Award winner,
the wife of Adolph Green and
a longtime friend of Leonard
Bernstein and his family.
Soundscape 2nd Grade students creating and performing their original
musical creation

L
E
O
N
A
R
D

B
E
R
N
S
T
E
I
N

C
E
N
T
E
R
5
by Patrick Bolek
T
he work of the Leonard
Bernstein Center continues
to enliven Leonard Bernsteins
vision of an approach to learning
that uses the arts and the artistic
process to achieve a deeper explo-
ration of learning, understanding
and creativity. Artful Learning

the signature education pro-
gram of the Leonard Bernstein
Center enjoyed a busy and
productive summer of professional
development for teachers and
administrators across the country.
While the Artful Learning
Legacy Schools that have used the
methodology for four years or
longer continue to prosper, two
new schools have joined those
currently implementing the model.
Leonard Bernstein Center Update
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
Danville High School (Danville,
IL) formed the Academy of
Creative Experiences (ACE) and
has started using Artful Learning
to increase student engagement
and improve academic achieve-
ment over the next three years.
Local newspaper and television
coverage have helped create
community awareness about
the Artful Learning Model
and how it empowers students
collective creativity.
At Fairview Elementary
School in Bloomington, IN, staff,
students and community are wit-
nessing an exciting philosophical
and physical transformation with
the construction of a new multi-
million dollar learning complex,
located in a neighborhood of
challenged educational achieve-
ment. To inspire and motivate
this underserved community,
the complex became an Artful
Learning School this summer.
Principal Karen Adams and her
devoted leadership team believe
that the Artful Learning Model
will provide enthusiastic student
engagement, combined with the
long-term benefits of academic
improvement, collaboration and
sustainability during the next
three years. Local publication
Bloom Magazine and the Indiana
Public Media INFocus news pro-
gram have devoted stories and
segments to this initiative.
Midway Elementary School of
the Arts (Sanford, FL), under the
leadership of Kristina Marshall,
Kimberly Goolsby, Amy Barone
and JP Royer III, has significantly
expanded its staff and student
enrollment during the past sev-
eral months as part of a school
improvement plan (see accompa-
nying article). Now in their third
year of the Artful Learning
implementation, the school has
made significant academic gains,
with observable indicators of
student transformation as a result
of arts-aligning their curriculum.
Howe & Wright Elementary
Schools (Des Moines, IA) are in
their third year of Artful Learning
implementation. Principal Lindsey
Cornwell is working closely with
teachers and students to assess
the effectiveness of the model.
Student writing samples demon-
strate clearly improved cognitive
understanding over the past two
years. Both schools in the district
are working collaboratively to
improve the learning experiences
for their students despite state
budgetary challenges. Faculty
members have been articulate
and passionate about how the
Artful Learning methodology has
transformed their classrooms.
Comeaux High Academy
of Applied and Visual Arts
(Lafayette, LA) has completed the
Level III professional develop-
ment. Bryan LaFaye, the schools
director and an established artist,
received support from the Leonard
Bernstein Centers trainers as well
as from Artful Learning teachers
who flew in from Jackson Middle
School in Portland, OR, to apply
this advanced learning framework
into their school curriculum.
Lora Giles, Antigone Trimis,
Dan Kryston, Dr. Phyllis Staplin
and Val Vanderwest have joined
in an effort to expand the national
Leonard Bernstein Center trainer
leadership and apprentice
programs, as well as to improve
internal operations. We are
pleased to welcome them aboard.
Patrick Bolek is a developer
for education initiatives with
his company MOMENTUM
ProjectLab. He currently serves
as an Advancement Consultant
and National Lead Trainer for
Artful Learning, Inc.
The Leonard Bernstein Center
is ever grateful for the continued
expertise of the Master Trainers
who work with Artful Learning
Schools across the country: Dr.
Richard Benjamin, Patrick Bolek,
Alison Kenny-Gardhouse, Jo
Ann Isken, Ann Ott-Cooper
and Susan Stauter.
Sara Jakubiak, Dominic Armstrong and Joshua Hopkins
as Dede, Franois and Junior

C
A
R
O
L

R
O
S
E
G
G
by Jack Gottlieb
I
n 1970, I received a letter from
Leonard Bernstein in which
he said, It occurred to me that
Ive used 12-tone rows to show:
1. Hysteria (Galop from Fancy
Free); 2. Boredom (Quiet from
Candide); 3. Dislocation (Age
of Anxiety); 4. Blind groping
(ditto); 5. Dogmaticism (Mass);
6. Despair (ditto). Does this
seem to say something about
the serial world?
My response should have
been: Maybe it does; but it also
says something about you. That
certain something was Bernsteins
attitude toward atonal music
i.e. music without a key center
which he always utilized in his
Bernstein, the Reluctant Serialist
compositions for theatrical pur-
poses and always to show what
he considered to be the triumph
of tonality over non-tonality. To
quote him: ...as a conductor I
am fascinated by, and wide open
to, every new sound-image that
comes along, but as a composer I
am committed to tonality. Here is
a conflict indeed and my attempt
to resolve it is, quite literally, my
most profound musical experi-
ence. (New York Times, 24
October 1965)
A shining example of that
experience is his Kaddish
Symphony (1963) where the
opening twelve-tone row has by
the end of the work exfoliated
into a broad major-mode melody.
6
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
One can well imagine the
turmoil that Bernstein went
through in the creation of A
Quiet Place (AQP) since it
deals with matters of suicide,
alcoholism, schizoid behavior,
half-remembered incest (maybe?),
confused sexuality and possible
gun violence. To create this
emotionally supercharged
world, Bernstein found new
expressive ends for 12-tone
techniques, with which he had
an ambivalent yet remarkably
persistent relationship.
The composer of Trouble
in Tahiti (TinT, 1952) made an
extraordinary tonal journey en
route to AQP (1983). TinT ends
with the Trio crooning about
evening shadows(i.e. twilight)
descending upon suburbia. AQP
plunges us deep into atonal dark-
ness; but by the start of Act III we
are back into the light with Dedes
aria of Morning, good morn-
ing. Light over darkness, tonality
over non-tonality. This observa-
tion pertains more precisely to
the original Houston production
when TinT was performed before
AQP. Now that it is imbedded
into Act II of AQP, we start in
darkness, end Act II in twilight
and open Act III with daylight.
Nonetheless, Bernsteins use
of non-tonality in AQP is more
dramatically incisive than in any
other work of his. For instance,
look at an important phrase that
first appears in Scene I of TinT
on Sams words Try, Dinah, try
to be kind a critical seven-note
motive (that coincidentally sug-
gests a theme from Wagners Die
Meistersinger). Based on this
phrase, TinT concludes on a ques-
tion mark, both theatrically and
musically. Will the protagonists,
Sam and Dinah, reconcile? Does
the vertical pile-up of five pitches
from the try to be kind phrase
indicate a safe home key? But this
A-major 7th chord is made sour
by a D-sharp. (Bernstein called it
the Tahiti chord, more or less
the same configuration that trig-
gers much of the music in West
Side Story and a cousin of the
Petrouchka chord).
AQP begins with the four
concluding bars of TinT, but now
we are thrust immediately into
atonality. This opening Prologue
is dominated by fidgety bursts
of sound based on these bars.
The orchestra snarls in dissonant
twists, a turmoil that evolves
into a strict twelve-tone row in
Scene I (Dialogue One) based on
a transposition of the last four
notes of the TinT phrase (again,
try to be kind.) Although
Dialogue I adheres to strict
twelve-tone Schoenbergian proce-
dure, Bernstein starts the row
by changing the order of the
four notes. Dialogue II begins
with yet another ordering of
the four notes. Subsequent
derivatives include a backwards
or retrograde formation.
In other words, he indulges in
permutations, a kind of musical
anagramming. (Anagrams were
one of his favorite wordplay
Dinahs funeral, A Quiet Place at New York City Opera

C
A
R
O
L

R
O
S
E
G
G
(continued on page 7)
A Quiet Place
O
n October 27, 2010
Bernsteins opera, A Quiet
Place, came to his hometown
for the first time. New York
City Opera presented the New
York premiere 27 years after the
operas original opening at the
Houston Opera.
Here are excerpts from
two reviews.
Bernstein at his most sub-
lime... New York City Operas A
Quiet Place, Leonard Bernsteins
only full-length opera, makes a
long troubled composition finally
work. [Director Christopher
Alden] brought theatrical magic
to his contemporary staging...
The cast is terrific. Jayce Ogren,
a young American conductor...
had an impressive City Opera
debut, drawing a pulsing, sensi-
tive and brilliant account of this
stylistically far-ranging score from
the orchestra... Mr. Alden draws
nuanced performances from this
gifted cast. (Anthony Tommasini,
The New York Times)
Leonard Bernsteins searing,
sometimes thorny score is perfectly
comprehensible to 21st-century
ears. A Quiet Place is gripping,
immediate and enthralling...The
strong cast includes Sara Jakubiak,
a lovely high soprano, ...and the
fine baritone Joshua Hopkins.
With tenor Dominic Armstrong, ...
the three make an unbeatable trio.
In staging this challenging but
enormously satisfying work, the
New York City Opera has done a
great service for the opera world
and, 20 years after his death, for
Leonard Bernstein, who always
longed to be remembered as a
composer of serious music. A
Quiet Place proves that he was
one. (Heidi Waleson, The Wall
Street Journal)
7
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
pastimes.) His purpose in
Dialogue One is to convey the
claustrophobia of the funeral
parlor and the unctuousness of
the funeral director. (Funeral
was a word he anagrammed
into real fun). This permu-
tation game is concomitant with
Stephen Wadsworths keenly
observed naturalistic libretto:
English-as-she-is-spoke was his
description. The incomplete sen-
tences, interjections, hesitations,
ellipses, streams-of-consciousness
are all bound up with similarly
spasmodic music.
The backward permutation is
potent elsewhere. In Act I it gener-
ates the Chorale: God has His
ways, which in turn spills over
into Sams aria: Youre Late.
Here the minor-key four note
motive still arouses dispiriting
feelings. But at the start (and
end) of Act III, the motive has
morphed into its major key form.
We have moved more into the
light, but even so, we still feel
uneasy because the opera charac-
ters have not fully resolved their
Bernstein, the Reluctant Serialist, continued
Patricia Risley as Dinah in A Quiet Place
at New York City Opera

C
A
R
O
L

R
O
S
E
G
G
conflicts and the music mirrors
this distress. As at the conclusion
of TinT, it is not at all clear
at the end of Act III that the
broken family ties will ever be
truly repaired.
Although not absolute, the
atonality of Act I gradually dis-
sipates over the course of thirteen
dialogues, so much so that when
Junior bursts in on the Readings
in the funeral parlor, his music
smacks of Lulus Back in Town,
an old Harry Warren tune.
However, Bernstein transforms
Juniors eventual strip-tease turn
into such a ravishing orchestral
Postlude that the banality and
even the gloominess of Act I are
snuffed out and transfigured. Sid
Ramin and Irwin Kostal collabo-
rated with the composer on the
orchestration of the opera. The
clock was ticking away toward
opening night, but the orchestra-
tion of this Postlude, the Trio in
Act I, the Prelude to Act III and
a few other especially dear (as
Bernstein reported) passages were
reserved for the composer alone.
Reviews of the original pro-
duction observed that the opera
was a statement about alienation
and the ultimate despair of the
20th century. That is putting too
heavy a spin on it. For me the
work is more about trying to pin
down fleeting moments of happi-
ness. With the possible exception
of saints, yogis and ascetics, do
any of us ever really find a lasting
quiet place?
Composer Jack Gottliebs
recently published memoir,
Working with Bernstein
(Amadeus Press), has been
receiving rave reviews.
In 1955, movie star Tyrone Power appeared
in a play called A Quiet Place that closed out
of New York. The title and title song for this
drama by Julian Claman were taken from
Trouble in Tahiti.
Did you know?
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
The Leonard Bernstein Scholar-in-Residence
J
ack Gottlieb, award-winning
composer/author and assis-
tant to Leonard Bernstein,
has been named The Leonard
Bernstein Scholar-in-Residence
at the New York Philharmonic
for the 2010-11 season. In this
role he will help to annotate
some of Bernsteins conduct-
ing scores at the Philharmonic
Archives, providing contextual
and personal information based
on Gottliebs work as assistant
to the Orchestras Laureate
Conductor from 1958 to 1966.
Many of these scores will soon
be available in the Philharmonics
digital archives on nyphil.org.
Mr. Gottlieb will present an
Insights series program on March
30, 2011, Music in the Yiddish
Theater, about the Jewish roots
of American popular music,
and will also give a special
program for conductors and
composers on Bernsteins
approach to programming.
Jack Gottlieb is a composer,
conductor, and scholar who
Jack Gottlieb and Leonard Bernstein at Teatro La Fenice,
Venice, 25 September 1959
C
O
U
R
T
E
S
Y

J
A
C
K

G
O
T
T
L
I
E
B


has been present as 50 years of
music history have unfolded,
says Theodore Wiprud, Director
of Education at the New York
Philharmonic. His particular
knowledge of Leonard Bernsteins
music, of Philharmonic program-
ming, and of the many Jewish
influences on American popular
music will contribute a great deal
to a rich season of engaging talks
and important research.
The Leonard Bernstein
Scholar-in-Residence at the New
York Philharmonic program hon-
ors and recognizes the enduring
contribution of Leonard Bernstein,
the Orchestras Music Director
from 1958 to 1969, and its
subsequent Laureate Conductor.
Composer Jack Gottlieb was
Leonard Bernsteins assistant
at the Philharmonic from 1958
to 1966. In 1977 he joined the
Leonard Bernstein Office, Inc.,
as publications director, and
currently serves as consultant to
the Leonard Bernstein Office.
8
T
o commemorate the 20th
anniversary of the composers
death, Deutsche Grammophon
(DG) has released a 7-CD collec-
tion, Leonard Bernstein Theatre
Works. DG had the opportunity
to record many of Bernsteins
theatre works, including Candide
(London Symphony Orchestra),
West Side Story (studio orches-
tra) and his opera A Quiet Place
Leonard Bernstein Theatre Works
(Vienna State Opera), all with
Bernstein conducting. This collec-
tion also includes his musical
On The Town conducted
by Michael Tilson Thomas,
and A White House Cantata
(London Symphony Orchestra),
derived from the musical 1600
Pennsylvania Avenue, conducted
by Kent Nagano.
The Leonard Bernstein Scholar-in-Residence
F
or the first time ever,
Wonderful Town has reached
Japan. This new production
produced by TV Ashai received
31 performances. Performances
took place in Japanese at the
Aoyama Theatre in Tokyo, the
Chunichi Theatre in Aichi and
the Umeda Art Theatre in Osaka.
This production featured Kei
Aran as Ruth and Miho Owada
as Eileen. It was directed by
Koichi Ogita and conducted by
Satoshi Uegaki.
Wonderful Town in Japan
As you would expect from a man who was
arguably one of the most influential pop cul-
ture figures ever to come out of the classical
music realm, Leonard Bernstein is thoroughly
entrenched in the Social Network. In addi-
tion to our website LeonardBernstein.com, we
have created both Facebook and Twitter pages
where fans and friends of Lenny gather to dis-
cuss events and find photos, music and video.
Our Facebook page has garnered nearly 40,000
fans, with more joining from around the globe
every day to share their memories about the
Maestro and discuss Leonard Bernstein sight-
ings on the web and in the media, including
a recent Mercedes-Benz commercial featur-
ing video of Bernstein conducting, as well as
news and info about the New York premiere
of Bernsteins only full-length opera, A Quiet
Place. Facebook fans and Twitter followers also
receive exclusive discounts on merchandise at
the LeonardBernstein.com online store. With
the addition of Facebook and Twitter pages to
our web presence, we have made a truly inter-
active home on the web for friends and fans of
Leonard Bernstein. Come and join us!
Josh Carr, New Media Coordinator for
the Leonard Bernstein Office
Leonard Bernstein
Social Networking
9
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
A
madeus Press has announced
the release of a new book,
Leonard Bernstein at Work by
Steve J. Sherman. This remark-
able photographic essay of the
last six years of the maestros
life gives us a rare insight into
the world of Bernsteins life as a
conductor. It contains over 200
black-and-white photographs,
most previously unpublished,
taken on and off stage during
twenty public events and con-
certs. Alongside the photos are
personal and insightful comments
from more than fifty people who
knew him well during those
years. It features a foreword by
Lauren Bacall and an introduc-
tion by James M. Keller, former
Leonard Bernstein Scholar-in-
Residence at the New York
Philharmonic.
In a preface, Jamie Bernstein
writes, Shermans images
are more than just beautiful;
they are revealing, passionate,
and haunting.
Leonard Bernstein at Work
Sherman is one of the worlds
premiere performing arts pho-
tographers, recognized for his
long-term associations with
Carnegie Hall and The New York
Times. His photos have been
featured in countless books and
magazines, on CD/DVD covers,
in television documentaries, and
exhibited at the International
Center of Photography and the
Metropolitan Museum of Art.
10
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
A
t a recent performance of
my musical play, Beethoven,
as I Knew Him, I announced to
the audience that in the coming
season I would be presenting
the music and life of Leonard
Bernstein in a new theatre piece
called Maestro. The audience
quite literally gave a collective and
extended high-pitched yay like
a gaggle of grade-school children,
and then they started to applaud,
with a few squeals thrown in.
It was clear to me that just the
Bernstein name alone brought
this group back to the good old
Maestro: The Art of Leonard Bernstein
days when they would curl up
with a recording, take a beloved
lesson on television, play a role in
West Side Story in a community
playhouse, be in Vienna, or Paris,
or Tanglewood, or New York, or
Berlin, anywhere and there was
Leonard Bernstein: warm, cuddly,
charming, eloquent, and above
all, always musically spectacular
and true.
Leonard Bernstein lived his life
in front of the public right from
the very beginning. From his
dazzling debut on November 14th,
1943 in front of the New York
Philharmonic at age 25, right
until the end at Tanglewood in the
summer of 1990, music and the-
atre lovers the world over felt that
he was their friend and beloved
teacher. The private Leonard
Bernstein, however, worried
particularly at the end of his life
about what exactly he would
be leaving behind. One of the last
works that he left us just before he
died in the autumn of October of
1990, was this short poem:
Afraid
Died in my vocabulary
Long ago except of hurting
Someone I love, and then
Of not writing my Piece
Before my Not-To-Be
Here you have a man who,
one could arguably assert, had
the greatest all-encompassing
career of any musician in the
history of Western music
conductor, composer, teacher,
television star, author, spokesper-
son and yet he was afraid of
not leaving behind something of
significance. This poem touched
me in such a way that I sensed
a raison dtre for my new
theater piece entitled Maestro.
I decided to structure the work
as a man looking back on the
very basic elements of his life, and
how they inspired his output. As
the work opens, we are invited to
take part as the audience in the
Maestros final broadcast. Only
this broadcast is the one that we
never saw where one of the
greatest musicians to have lived
asks questions about his own life,
Vienna Honors Bernstein
O
n October 14, 2010 the
Haus der Musik in Vienna,
Austria honored Leonard
Bernstein on the 20th anniversary
of his death. The Haus der Musik
presented an intimate conversa-
tion between renowned mezzo
soprano Christa Ludwig; Michael
Bernstein, the Maestros nephew;
and Craig Urquhart, who was
Bernsteins assistant in the later
years of the Maestros life. Clemens
Hellsberg, General Manager of the
Vienna Philharmonic, moderated
the program. Pianist Alexander
Frey performed selections from
Bernsteins Piano Anniversaries,
and film segments were shown,
including Ludwig and Bernstein
in recital as well as Bernstein con-
ducting the Vienna Philharmonic.
Michael Bernstein, Craig Urquhart,
Christa Ludwig, Alexander Frey and
Clemens Hellsberg
C
O
U
R
T
E
S
Y

C
R
A
I
G

U
R
Q
U
H
A
R
T
and what hes left behind, and
whether hes done enough.
Since Leonard Bernstein spent
his life studying the immortals
and sharing with us what in fact
makes them so, one of the ideas
that I grapple with in the piece is
how his understanding of great
music affects his perception of
his own place as a composer in
the pantheon of the greats. In
another twenty years, well prob-
ably see what Lenny didnt see
in his lifetime: that Piece the
one he wanted to create before
his Not-To-Be, the one he was
afraid wouldnt be. I believe that
he did leave us that work and
time will tell us what exactly it is
but I suspect it isnt a work
per se, but rather a body of
work that has a particular
color, a particular energy, and
a sound all its own. Listen to
any Bernstein music.
That is the mark of a com-
poser: he who has left behind
not his piece but a piece
a piece of the vast tapestry that
is the arts, a piece of history
in sound that, in this case,
shall always and indelibly
be Bernstein. He had no
reason ever to be afraid.
Maestro began performances at
The Geffen Theatre, Los Angeles,
November 2, 2010: www.
GeffenPlayhouse.com and will be
followed by performances begin-
ning January 4 at the Laguna
Playhouse: www.lagunaplayhouse.
com and at The Old Globe in San
Diego, Summer of 2011: www.
theoldglobe.org
Hershey Felder
C
O
U
R
T
E
S
Y

H
E
R
S
H
E
Y

F
E
L
D
E
R
11
by Tony Napoli
O
ver the past year I have
attended Mass in New
York City, Minneapolis and
London. You might think I was a
religious fanatic, but since Im an
atheist, you could more accurate-
ly posit that Im a devoted acolyte
of Leonard Bernsteins wonderful,
thought-provoking creation.
Notes From a Mass Fan
Each city interpreted the piece
differently. In New York, it was
a celebration of the citys ethnic
diversity, reflected in the 500
school children trained to sing
for this event. In Minneapolis,
the piece was treated more as an
austere Protestant service, down
to the angelic youth chorus hold-
ing candles during the closing
hymn, reminiscent of the Nordic
celebration of the Feast of St.
Lucy. But London may have best
captured what Bernstein had in
mind: a happening, a spiritual
journey, a dark night of the soul
experienced by the Celebrant as
well as the attendees.
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
What was truly brilliant (as
the Brits would say) was the use
of supertitles. Bernstein and his
co-librettist Stephen Schwartzs lyr-
ics, which catch all the confusion
and torment of that era, were now
graspable in their entirety. The
supertitles added great value in
the Latin translations, and particu-
larly paid off in the mad scene
(Fraction), when the Celebrant
smashes the chalice and mon-
strance and delivers an anguished
rant. Jesse Blumberg was a strong,
confident priest caught in the tur-
moil of his self-doubt and his con-
gregations ever-tougher questions.
The congregation, or Street
Chorus, expertly portrayed the
anguish of searching for faith in
the modern world and question-
ing the role of God in ones daily
life. In the Dona Nobis Pacem
section, participants planted in the
theatre sprang out of their seats
and ran down the aisles, sweep-
ing up the entire audience in a
thrillingly theatrical outburst that
evoked the fervor of the antiwar
protests of the 70s.
At the end, the multiple chil-
drens choirs offered up the hope
and joy of youth: surely one of
Lennys most moving finales. One
would have to be made of stone
not to be touched by this music
of deep reconciliation. After the
curtain call, the cast ran out into
the audience as Maestro Alsop
reprised the Introit marching
music, restoring the openings
atmosphere of festive jubilation.
The entire audience clapped along
and hugged the performers in
the aisles almost like a hippie
be-in. I think Lenny would have
been delighted.
Mahler once said, My time
will come. Well, with the help of
Marin Alsop, Leonard Bernsteins
Masss time has come. As a true
believer in Lenny and Mass, I
look forward to seeing it many
more times.
Tony Napoli is a native New
Yorker, entrepreneur and writer.
www.tonynapoli.com
Jesse Blumberg as the Celebrant in the London Southbank Centres production
C
O
U
R
T
E
S
Y

B
E
L
I
N
D
A

L
A
W
L
E
Y
The initiator of the London
production was Marin Alsop,
who has conducted so many
Masses by now that she can
be considered one of the pieces
greatest champions. Londons
version was the only one to
incorporate all of the composers
elements in his theatre piece for
singers, players and dancers,
including a marching band and a
dance company. The director, Jude
Kelly, synchronized sections of the
score to a psychedelic slide show
featuring pictures of JFK, Jackie,
the assassination, Viet Nam, and
student antiwar protests. This
anchored the piece firmly in the
early 1970s, the historical time
period of the works composi-
tion. It was a great idea for the
British audience, though I would
not want Mass to be seen only as
a period piece. The other great
Masses of Mozart, Haydn and
Bach stand on their own; I trust
in time Bernsteins Mass will be
performed as standard repertory,
and not necessarily with all the
theatrical trappings.
12
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
by Pamela Beal, Ph.D and
Tawana Waugh
T
he themes of West Side Story
provide a unique backdrop
for community dialogue about
gangs, violence and youth-police
relations. The electrifying music
of Leonard Bernstein and the pro-
phetic lyrics of Stephen Sondheim
hauntingly paint a picture as
relevant today as it was fifty
years ago. This timeless musical
is the catalyst for the West Side
Story Project Toolkit which uses
these themes to generate discus-
sion within a community.
Funded by the U.S.
Department of Justice Office of
Community Oriented Policing
Services (COPS Office), devel-
oped in collaboration with the
Seattle Police Department, the
Seattle Police Foundation and
Seattles 5th Avenue Theatre, the
West Side Story Project (WSSP)
is now offering a toolkit to
other jurisdictions interested in
replicating the project. To date,
it has been successfully piloted
in Seattle, WA, White Plains,
NY and Los Angeles, CA. The
project can be replicated in part
or in its entirety, depending on
the interests, needs and resources
of each jurisdiction.
The Concept
Middle and high school students
from all ethnic and minority com-
munities participate in activities
designed to engage youth and
law enforcement in discussions
about gang & youth violence
prevention, youth-police relation-
ships, and racial/ethnic relations.
Simultaneously, it introduces
at-risk youth to a world far
away from their everyday lives
live musical theatre and
offers them the chance to create
their own art & drama based
on themes from West Side Story
while working with professional
actors and artists. The project
also sets the stage for a public
forum to discuss the local
communitys responses to its
at-risk youth.
The West Side Story Project Toolkit:
Crime Prevention on a New Stage
The Collaborative Partners
To create an opportunity for law
enforcement to work with non-
traditional partners, the WSSP
Toolkit instructs police on how
to team up with local theatre,
schools and/or community cen-
ters to develop new approaches
to gang prevention and cultural
conflict. Most community theatres
and non-profit professional the-
atres have educational outreach
programs with missions that suit
such a project.
In Los Angeles, one observer
of the Speak Up sessions says,
The Lieutenant told me that he
had conducted these workshops
for the past 18 months and that
this changed and educated him, so
he understands these teens better
and wants to help them avoid fur-
ther involvement with the criminal
lifestyle. He also said that they are
very beneficial to his officers and
help them be more compassionate
and attentive. The teens are very
happy that they could talk openly
to officers about their distrust
and dislike of police. They were
willing to learn about police pro-
cedures they see as aggressive or
unjust that are actually designed
to save lives. Both groups benefit
from such frank discussions.
The West Side Story Project
Toolkit consists of five booklets,
a CD and DVD which provides
directions, suggestions, templates
and examples for building an
innovative collaboration between
law enforcement, the theatre,
schools and community organiza-
tions to develop a youth violence
prevention initiative using West
Side Story.
The West Side Story Project
Toolkit supports the COPS
Offices mission: advancing
community policing through
relationships between law enforce-
ment and the community to
build communities of trust.
Pamela Beal, Ph.D is a
researcher and writer for the
Seattle Police Foundation. She
was formerly the Director of the
University at Buffalo Regional
Community Policing Center.
Tawana Waugh, Policy Analyst
with the Department of Justice
Ofce of Community Oriented
Policing Services, has over 20
years experience in customer
service, marketing and program
management. Ms. Waugh works
closely with law enforcement and
community groups to help them
address issues that are critical
to public safety in an effort to
advance community policing.
The teens were
willing to learn
about police
procedures they
see as aggressive
or unjust that are
actually designed
to save lives.
New Music in Print
T
he Leonard Bernstein Music
Publishing Company, LLC is
pleased to announce new pub-
lications available through Hal
Leonard. There are three new
offerings for concert band: a
new arrangement of Symphonic
Dances From West Side Story, a
Suite from Mass and a medley of
tunes from West Side Story. For
educators and amateur groups,
there are selections from West
Side Story arranged for various
levels of ability. There are also
new arrangements of songs from
West Side Story for jazz ensemble,
marching band and orchestra.
Hal Leonard has recently
completed three new compila-
tions of song albums: Art Songs
13
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
and Arias, Bernstein on Broadway
and Bernstein Theatre Songs. Art
Songs and Arias features new
transcriptions, unpublished mate-
rial and selections from complete
vocal scores never before avail-
able on their own. There are edi-
tions for high voice and medium/
low voice, as well as for duets
and ensembles. Bernstein on
Broadway presents 30 songs from
the Broadway shows. Bernstein
Theatre Songs presents selections
from the theatre works, including
songs cut from the shows.
For more information please
visit: www.halleonard.com
Recently published but avail-
able through Boosey & Hawkes,
Ltd. is a new arrangement of
West Side Story (Suite) for guitar
and chamber orchestra. West Side
Story (Suite) was arranged by
Andreas Kowalewitz and guitarist
Lucian Plessner. Plessner had met
Bernstein, who requested at the
time that the guitarist arrange and
record several Bernstein works.
For more information please
visist: www.boosey.com
Prof. Rolf Beck (Director Schleswig-Holstein Musik
Festival), Jrg-Dietrich Kamischke (Sparkassen-
Finanzgruppe), Alexander Bernstein and Kit Armstrong

A
X
E
L

N
I
C
K
O
L
A
U
S
T
he Schleswig Holstein Music
Festival has presented the
10,000 Euro Leonard Bernstein
Award to pianist Kit Armstrong.
The award is given to young artists
at the beginning of their careers to
enable them to pursue performing.
Previous recipients are
Lang Lang, Lisa Batiashvili,
Erik Schumann, Jonathan
Biss, Alisa Weilerstein, Martin
Grubinger, Anna Vinnitskaya
and Leonard Eischenbroich.
The Leonard Bernstein Award
Kit Armstrong is an eighteen-
year-old pianist and composer
who also displays remarkable
gifts for mathematics, science and
languages. At the age of five, he
began formal composition and
piano studies. Four years later, he
became a full-time undergraduate
student in music and science.
Since his concerto debut at the
age of eight, Kit has given recitals
and appeared as soloist with
numerous orchestras. The award
is made possible by the generosity
of the Sparkassen Finanzgruppe.
A
brand new touring produc-
tion of West Side Story
launched its national run and
it may safely be christened a
triumph right out of the gate,
wrote Lawrence B. Johnson in the
Detroit News.
The current acclaimed
Broadway production of West
Side Story has begun its national
tour. Librettist Arthur Laurentss
Broadway direction was recreated
for the tour by David Saint, the
West Side Story Tour
productions Associate Director.
The original Jerome Robbins cho-
reography is reproduced by Tony
Award-nominee Joey McKneely
(The Boy from Oz, The Life).
The new Broadway cast album
of West Side Story won the 2010
Grammy Award for Best Musical
Show Album on January 31, 2010.
West Side Story features scenic
designs by James Youmans (Gypsy),
costumes by Tony Award nomi-
nee David C. Woolard (The
Farnsworth Invention, The
Whos Tommy), lighting by Tony
Award winner Howell Binkley
(Gypsy, Jersey Boys), sound
design by Tony Award nominee
Dan Moses Schreier (Gypsy,
A Catered Affair) and hair by
Mark Adam Rampmeyer (The
Farnsworth Invention).
For more tour locations
and dates please visit:
www.broadwaywestsidestory.com
For a complete listing visit:
www.leonardbernstein.com
14
October
1 Bochum, Germany: SYMPHONY NO.2: THE
AGE OF ANXIETY; Bochumer Symphoniker;
Kirill Gerstein, piano; Steven Sloan, conduc-
tor; Bogestra-Strassenbahnwerkstatt.
2 New York, NY: DIVERTIMENTO; Vienna
Philharmonic Orchestra; Gustavo Dudamel,
conductor; Carnegie Hall, Stern Auditorium.
7 Halle, Germany: SERENADE; Staatskapelle
Halle; Arkadi Marasch, violin; Hans Rotman,
conductor; Studio.
7,8 Lisbon, Portugal: SYMPHONY NO.2: THE
AGE OF ANXIETY; Gulbenkian Orchestra;
Dana Clocarlie, piano; Christian Badea,
conductor; Grand Auditorio.
14-17 Detroit, MI: THREE DANCE EPISODES
FROM ON THE TOWN; Detroit Symphony
Orchestra; Leonard Slatkin, conductor;
Orchestra Hall.
23 Bremerhaven, Germany: ON THE
TOWN (new production); Stadttheater
Bremerhaven; Claudio Beuno, director;
Rodolfo Cazares, conductor; Grosse Haus.
November
4 Vienna, Austria: SYMPHONIC
DANCES FROM WEST SIDE STORY;
Niedersterreichisches Tonknstlerorchester;
Michail Jurowski, conductor; Musikverein.
4,6, New York, NY: A QUIET PLACE; New York
12,14 City Opera; Christopher Alden, director;
16,21 Jayce Ogren, conductor; David H.
Koch Theatre.
11 Basel, Switzerland: SYMPHONIC DANCES
FROM WEST SIDE STORY; Sinfonieorchester
Basel; Dennis Russel Davies, conductor;
Stadt Casino Musiksall.
12 Thousand Oaks, CA: SERENADE;
New West Symphony; Corey Cerovsek,
violin; Boris Brott, conductor; Oxnard
Performing Arts Center.
15,16 Gersthofen, Germany: SYMPHONY NO.3:
KADDISH; Philharmonisches Orchester
der Stadt Augsburg; Dirk Kaftan,
conductor; Stadhalle.
19,20 Madrid, Spain: SYMPHONIC SUITE FROM
ON THE WATERFRONT; Spanish National
Orchestra; Lawrence Renes, conductor;
National Music Hall.
19,21 Pittsburgh, PA: SYMPHONIC SUITE FROM
ON THE WATERFRONT; Pittsburgh Symphony
Orchestra; Leonard Slatkin, conductor;
Heinz Hall.
22-24 Washington, DC: FANFARE FOR THE
INAGURATION OF JOHN F. KENNEDY;
National Symphony Orchestra; Christoph
Eschenbach, conductor; Kennedy Center
for the Performing Arts.
23,28 Trier, Germany: TROUBLE IN TAHITI;
Benedikt Bormann, director; Dirk Edelkamp,
conductor; Forum.
December
4 Bremerhaven, Germany: ON THE TOWN
(new production); Stadttheater Bremerhaven;
Claudio Beuno, director; Rodolfo Cazares,
conductor; Grosse Haus.
9 Eindhoven, The Netherlands: THREE
DANCE EPISODES FROM ON THE TOWN;
Conservatorium van Amsterdam; Ivan
Meylemans, conductor; Muziekcentrum.
18 Miami Beach, FL: SYMPHONY NO.2:
THE AGE OF ANXIETY; New World
Symphony; Orli Shaham, piano; David
Robertson, conductor; Lincoln Theater.
18 Karlsruhe, Germany: OVERTURE TO
CANDIDE; Staatsorchester Rheinische
Philharmonie; Daniel Raiskin,
conductor; Konzerthas.
29-31 Neuchtel, Switzerland: CANDIDE
(Selections), WEST SIDE STORY CONCERT
SUITE NO.2; SYMPHONIC DANCES
FROM WEST SIDE STORY; Orchestre
Festival Les Jardins Musicaux; Valentin
Reymond, conductor.
January
1,2 Lyon, France: OVERTURE TO CANDIDE;
THREE DANCE EPISODES FROM ON THE
TOWN; SYMPHONIC DANCES FROM WEST
SIDE STORY; Orchestre National de Lyon;
Leonard Slatkin, conductor; Auditorium
Maurice Ravel.
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
Fall/Winter 2010/2011
Prelude, Fugue & Riffs will be
sent upon request. Please send
all correspondence to:
Craig Urquhart
Prelude, Fugue & Riffs
121 West 27th Street
Suite 1104
New York, NY 10001
Fax: (212) 315-0643
e-mail:
curquhart@leonard bernstein.com
We appreciate notice of any
performances or events featuring
the music of Leonard Bernstein
or honoring his creative life
and we shall do our best to
include such information in
forthcoming calendars.
Prelude, Fugue & Riffs
TM
is
a publication of The Leonard
Bernstein Ofce, Inc.
2010/11 by The Leonard
Bernstein Ofce, Inc.
Managing Editor: Craig Urquhart
Editors: Jack Gottlieb,
Jamie Bernstein
Design: BorsaWallace, NYC
Visit our website:
www.leonardbernstein.com
15
6,8,9 Los Angeles, CA: SYMPHONY NO.1:
JEREMIAH; Los Angeles Philharmonic;
Kelley OConnor, mezzo-soprano;
Gustavo Dudamel, conductor; Walt Disney
Concert Hall.
8 Pensacola, FL: THREE DANCE EPISODES
FROM ON THE TOWN; Pensacola Symphony
Orchestra; Peter Rubhardt, conductor;
Saenger Theatre.
21 Lisbon, Portugal: SYMPHONY NO.1:
JEREMIAH; Los Angeles Philharmonic;
Kelley OConner, mezzo-soprano; Gustavo
Dudamel, conductor; Grande Auditrio.
21,22 Omaha, NE: SYMPHONIC SUITE FROM
ON THE WATERFRONT; Omaha Symphony;
Thomas Wilkins, conductor; Holland
Performing Arts Center.
22-24 Washington, DC: FANFARE FOR THE
INAUGURATION OF JOHN F. KENNEDY;
SYMPHONIC DANCES FROM WEST SIDE
STORY; National Symphony Orchestra;
Christoph Eschenbach, conductor; John F.
Kennedy Center for the Performing Arts.
25 Cologne, Germany: SYMPHONY NO.1:
JEREMIAH; Los Angeles Philharmonic;
Kelley OConnor, mezzo-soprano; Gustavo
Dudamel, conductor; Philharmonie.
29 Lyon, France: SERENADE; Orchestre de
LOpera de Lyon; Nicolas Gourbeix, violin;
Kazushi Ono, conductor; LOpera de Lyon.
February
1,5 New York, NY: TROUBLE IN TAHITI;
Manhattan School of Music; Joshua Bravo,
conductor; Greenfield Hall.
3 Chattanooga, TN: SYMPHONIC SUITE
FROM ON THE WATERFRONT; Chattanooga
Symphony; Markand Thakar, conductor;
Tivoli Theater.
3,5 Mulhouse, France: OVERTURE TO
CANDIDE; Orchestre Symphonique de
Mulhouse; Daniel Klajner, conductor;
Concert Haut-Rhin.
5 Hamburg, Germany: OVERTURE TO
CANDIDE; THREE MEDITATIONS FROM
MASS; THREE DANCE EPISODES FROM ON
THE TOWN; SYMPHONIC DANCES FROM
WEST SIDE STORY; NDR Sinfonieorchester;
Kristjan Jarvi, conductor; Kampnagel.
10 Luxembourg, Luxembourg: OVERTURE
TO CANDIDE; ORCHESTRAL SUITE FROM
CANDIDE, DIVERTIMENTO; Orchestre
Philharmonique du Luxembourg; Wayne
Marshall, conductor; Grand Auditorium.
10-12 Philadephia, PA: ORCHESTRAL
SUITE FROM A QUIET PLACE; Philadelphia
Orchestra; Michael Tilson Thomas, conductor;
Verizon Hall.
19 New Orleans, LA: SYMPHONIC DANCES
FROM WEST SIDE STORY; Louisiana
Philhamonic Orchestra; Carlos Miguel Prieto,
conductor; Mahalia Jackson Theater.
25 Munich, Germany: CANDIDE (Concert
version); Philharmonischer Chor Mnchen;
Mnchner Philharmoniker; Kristjan Jarvi,
conductor; Philharmonie.
25,26 Nampa, ID: THREE DANCE EPISODES FROM
ON THE TOWN; Boise Philharmonic; Joanne
Falletta, conductor; Brandt Center.
March
6,7 Halle, Germany: OVERTURE TO CANDIDE;
Staatskapelle Halle; Karl Heinz Steffens,
conductor; George Frideric Handel Halle.
10,11 Plauen, Germany: DIVERTIMENTO;
Philharmonisches Orchester Plauen Zwickau;
Lutz de Veer, conductor; Vogtlandtheater.
11,13 Tacoma, WA: TROUBLE IN TAHITI;
Tacoma Opera; Carolyn Kuan, conductor;
Pantages Theater.
17 Zwickau, Germany: DIVERTIMENTO;
Philharmonisches Orchester Plauen Zwickau;
Lutz de Veer, conductor; Neue Welt.
P
r
e
l
u
d
e
,

F
u
g
u
e

&

R
i
f
f
s

F
a
l
l
/
W
i
n
t
e
r

2
0
1
0
/
2
0
1
1
Printed on recycled paper
T
he legacy of Leonard Bernstein
cannot be overestimated.
His uniquely combined roles of
conductor, composer and music
advocate have left an indelible
imprint on several generations
of musicians and music lovers.
To commemorate the 20th anni-
versary of Bernsteins death
and to pave the way for future
generations of music lovers,
Sony Classical International
is pleased to present Leonard
Bernstein: the Symphony Edition.
The 60-disc Leonard Bernstein
Symphony Edition includes all
57 of Bernsteins symphonic
recordings with the New York
Philharmonic during his historic
years with that orchestra. The
set features complete cycles of
Beethoven, Brahms, Mahler and
Sibelius, as well as such land-
Leonard Bernstein:
The Symphony Edition
mark recordings as Shostakovichs
Symphony No.5, and the
Symphony No.2 by Ives. This
limited edition presents each disc
in an individually repackaged
design with sixty photographs
of the maestro. The package
includes a large-format book
with extensive essays by German
music critic Klaus Geitel and
musicologist Wolfgang Sthr.
Jamie Bernstein wrote, My
brother, sister and I grew up
surrounded by the sounds of
the music our father performed
and recorded with the New
York Philharmonic and other
world-class orchestras. These
performances and recordings
imbued us with a deep under-
standing and love for this rich
repertoire. It was always our hope
that the multitude of symphonic
121 West 27th Street
Suite 1104
New York, NY 10001
PRESORTED
STANDARD
U.S. POSTAGE PAID
NEWARK, NJ
PERMIT NO. 625
recordings our father made over
the course of his extraordinary
career could be gathered together,
to serve as an essential body
of reference for all those with
an interest in classical music: stu-
dents, teachers, the curious and
the fanatical. We were sure that
by having access to the totality
of these outstanding recordings,
any music lover could feel they
were in the possession of a truly
comprehensive resource not to
mention a trove of beauty.
And now, thanks to Sony,
our hope has become a reality.
This superbly assembled set of our
fathers symphonic recordings is
sure to give the world the same
sense we grew up with: that this
repertoire was at our fingertips
always available, always beautiful,
and in the finest of renditions.